Brown, H.M. & S. Sadie (1989). Performance Practice. Music Before 1600. Norton, New York &am; London. ISBN 0-393 02807-0.
Burton, A. ed. (2002). A Performer's Guide to Music of the Baroque Period. Book & CD. Associated Board of the Royal Schools of Music, London. ISBN 9781860961922.
Butt, J. (2002). Playing with History: The Historical Approach to Musical Performance (Musical Performance and Reception). Cambridge University Press, UK. ISBN-10: 0521013585, ISBN-13: 978-0521013581
Cyr, M. (2008). Essays on the Performance of Baroque Music Variorum Collected Studies. Ashgate, Farnham. ISBN-10: 0754659267, ISBN-13: 978-0754659266.
Dart, T. (1954/1978). The Interpretation of Music. Hutchinson, London. ISBN 0-09-031684-3.
Dolmetsch, A. (1915/1969). The Interpretation of the Music of the Seventeenth and Eighteenth Centuries Revealed by Contemporary Evidence. University of Washington Press, Seattle & London. ISBN 0-295-78578-0.
Donnington, R. (1973). A Performer's Guide to Baroque Music. Faber & Faber, London.
Donnington, R. (1974). The Interpretation of Early Music. New Version. Faber & Faber, London. ISBN 0-571-04789-0.
Donnington, R. (1982). Baroque Music: Style and Performance. Faber Music, London. ISBN 0-571-10041-4.
Duffin, R.W. (200), ed. Performer's Guide to Medieval Music. Early Music American Performer's Guide to Early Music. Indiana University Press, Bloomington. ISBN-10: 0253337526, ISBN-13: 978-0253337528.
Haskell, H. (1988). The Early Music Revival: A History. London.
Haynes, B. (2007). The End of Early Music: A Period Performer's History of Music for the Twenty-First Century. Oxford University Press, USA. ISBN-10: 0195189876, ISBN-13: 978-0195189872.
Jackson, R. (2005). Performance Practice: a Dictionary-Guide for Musicians. Routledge, Abington & New York .
Kelly, M.J., ed. (1998). The Encyclopedia of Aesthetics. Oxford University Press, New York. [4 volumes.]
Kenyon, N., ed. (1988). Authenticity and Early Music. Oxford.
Kivy, P. (1995). Authenticities. Cornell University Press, Ithaca.
Kreitner, K. (2011). The LIbrary of Essays on Music Performance Practice: Renaissance Music. Ashgate, Farnham. ISBN-10: 0754629635, ISBN-13: 978-0754629634.
Leech-Wilkinson, D. (2002). The Modern Invention of Medieval Music. Cambridge University Press, Cambridge. ISBN-13: 9780521818704, ISBN-10: 0521818702.
Marvin, R. (1968). Playing French late baroque music on on the recorder. American Recorder 9(2): 39-41.
Mather, B.B. (1973). Interpretation of French Music From 1675 to 1775 for Woodwind and Other Performers. McGinnis & Marx, New York.
McGee, T.J. (1985). Medieval and Renaissance Music. A Performer's Guide. University of Toronto Press, Toronto, Buffalo & London. ISBN 0-8020-2531-5.
Meconi, H. (2011). The Library of Essays on Music Performance Practice: Medieval Music. Ashgate, Farnham. ISBN-10: 0754628515, ISBN-13: 978-0754628514.
Montgomery, D. (1996). Historical Information for Musicians. Kings Music, Huntingdon.
Phillips, E.V. & J.-P. C. Jackson (1986). Performing Medieval and Renaissance Music: an Introductory Guide.
Schirmer. ISBN 0-02-871790-2.
Parish, C. (1959). The Notation of Early Music. Pendragon Press. ISBN 0-918728-08-8.
Polk, K. German Instrumental Music of the Late Middle Ages: Players, Patrons and Performance Practice.
Cambridge University Press, Cambridge. ISBN 0-521-38521-0.
Rastall, R. (1982). The Notation of Western Music. St Martin's Press, London. ISBN 0-312-57963-2.
Richman, J. (1998). Taruskin Agonistes: Text and Act reconsidered. American Recorder 39(4): 15-19 & 38.
Rink, J. (2005). The Practice of Performance: Studies in Musical Interpretation. Cambridge University Press, Cambridge. ISBN-10: 0521619394, ISBN-13: 978-0521619394.
Rowland-Jones, A. (1992). Playing Recorder Sonatas: Interpretation and Technique. Oxford University Press, Oxford.
Rowland-Jones, A. (1995). Playing Recorder Duets: A Guide to the Repertoire for Two Unaccompanied Recorders. Allegro, Bristol.
Rowland-Jones, A. (1997). Antes de tocar sonatas barrocas. Aspectos generales, from Playing Recorder Sonatas: Interpretation and Technique (Clarendon Press, Oxford, 1992). Spanish translation by Agostino Cirillo, Revista de Flauta de Pico 7 (1997).
Rowland-Jones, A. (2003). A Practice Book for the Treble Recorder. Edn 2. Ruxbury, Hebden Bridge.
Spanhove, B. (2000). The Finishing Touch of Ensemble Playing: A Flanders Recorde Quartet Guide for Recorder Players and Teachers. Alamire, Peer
Taruskin, R. (1995). Text & Act. Essays on Music and Performance. Oxford University Press, New York, London. ISBN 0-19-509437-9 (cloth); 0-19-509458-I (paper).
Veilhan, J-C. (1979). The Rules of Musical Intepretation in the Baroque Era (17th – 18th centuries) Common to all Instruments. Leduc, Paris. ISBN 2-856689-008-3.
Vinquist, M. & N. Zaslaw. (1971). Performance Practice: a Bibliography. Norton, New York. ISBN 0-393-02148-3 (cloth); ISBN 0-393-00550-X (paper).
Wainwright, J. & Holman, P. (2005). From Renaissance To Baroque: Change in Instruments and Instrumental Music in the Seveteenth Century. Ashgate, Farnham. ISBN-10: 0754604039, ISBN-13: 978-0754604037.
Waitzman, D. (1978). The Art of Playing the Recorder. AMS Press, New York.
Lasocki, D. (1988). Late baroque ornamentation: philosophy and guidelines. American Recorder 29 (1): 7–10.
Lasocki, D. (1999). The philosophy of baroque ornamentation. Recorder Education Journal 5.
Legêne, E. & D. Lasocki (1999). Learning to ornament Handel's sonatas through the composer's ears. Recorder Education Journal 5.
Linde, H-M. (1958). Kleine Anleitung zum Verzieren Alter Musik. Edition Schott 4758, Mainz.
Lloyd-Watts, V. & C.L. Bigler (1995). Ornamentation: a Question and Answer Manual. Alfred Publishing Co., New York. ISBN 0882845497
Mather, B.B. (1973/2010). Interpretation of French Music From 1675 to 1775 for Woodwind and Other Performers. McGinnis & Marx, New York (1973); Instant Harmony, Portland (2010).
Mather, B.B. & Lasocki, D. (1984/2010). The Art of Preluding, 1700-1830, for Flutists, Oboists, Clarinettists and Other Performers (New York: McGinnis & Marx, 1984). Instant Harmony: Portland.
Mather, B.B. & Lasocki, D. (1976/2012). Free Ornamentation in Woodwind Music 1700-1775. An Anthology with Introduction. McGinnis & Marx, New York (1976); Instant Harmony, Portland (2012).
Matharel, P. (1997). The Art of Diminution in the XVIth and XVIIth Centuries. Vol. 1. Bärenreiter 51102243.
United Music Publishers UNI48135. Billaudot
Maute, M. (2005). Blockflöte & Improvisation – Modelle, Methodik, Theorie. Breitkopf & Härtel. ISBN 10: 3765103756; 13: 9783765103759.
McGee, T. (2003), ed. Improvisation in the Arts of the Middle Ages and the Renaissance. Eary Drama, Art and Music Monograph Series 30. Medieval Institute Publications & Western Michigan University, Kalamazoo. ISBN 1580440452.
Moens-Haenen, G. (1988). Das Vibrato in der Musik des Barock. Akademische Druck-u. Verlagsanstalt, Graz.
Veilhan, J-C. (1979). The Rules of Musical Intepretation in the Baroque Era (17th – 18th centuries) Common to all Instruments. Leduc, Paris. ISBN 2-856689-008-3.
Wollitz, K. (1966). An introduction to baroque ornamentation. American Recorder 7(1): 4-10.
Phrasing
Vial, S.D. (2008). The Art of Musical Phrasing in the Eighteenth Century: Punctuating the Classical Period. Eastman Studies in Music. University of Rochester Press, Rochester. ISBN: 1580460348.
Rhetoric, the Affections & Musical Metaphor
Bartel, D. (1997). Musica Poetica: Musical-Rhetorical Figures in German Baroque Music. University of Nebraska Press, Lincoln. ISBN-10: 0803212763,
ISBN-13: 978-0803212763.
Coomber, D. (1985). Rhetoric and affect in baroque music. The Recorder 3: 23-27.
Higginbottom, E. (1975). Sonate, que me veux-tu? Classical French music and the theory of imitation. InFrench Music and the Fitzwilliam. Fitzwilliam Museum, Cambridge.
Lasocki, D. (1978). Quantz and the passions, theory and practice. Early Music 6(4): 556-567.
Ranum, P. (2001). The Harmonic Orator: the Phrasing and Rhetoric of the Melody in French Baroque Airs. Pendragon, Hillsdale. ISBN 1576470229.
Tarling, J. (2004). The Weapons of Rhetoric: A Guide for Musicians and Audiences. Corda Music Publications, St Albans.
Tiel I: Vorgeschichte, Ästhetik, Physiologie. Tiel I: Tradition und Enfatung des Begriffs. Tibia 3:161-168 (1982).
Tiel II: Die Affekte und ihre Darstellungsmittel. Tibia 1: 241-245 (1983).
Tiel III: Die physikalische und physiologische Begründung der Affektenlehre. Tibia 2: 325-334 (1983).
Silvae Retoricae: The Forest of Rhetoric, intended to help beginners, as well as experts, make sense of rhetoric, both on the small scale (definitions and examples of specific terms) and on the large scale (the purposes of rhetoric, the patterns into which it has fallen historically as it has been taught and practiced for 2000+ years), from Gideon O. Burton (USA)
Musica Poetica, web-site devoted to musica poetica, the synergistic interrelationship of music, rhetoric, and oratory that flowered in the 17th and 18th centuries; includes pointers to many useful resources
Hefling, S.E. (1993). Rhythmic Alteration in Seventeenth- and Eighteenth-Century Music: Notes Inégales and Overdotting. Schirmer Books: New York; Macmillan: Toronto.
Houle, G. (1987/2000). Meter in Music 1600-1800. Indiana University Press, Bloomington. ISBN: 0253337925.
Mather, B.B. (1988). Dance Rhythms of the French Baroque: A Handbook for Performance (Music: Scholarship and Performance). Indiana University Press, Bloomington. ISBN-10: 0253316065, ISBN-13: 978-0253316066.
Newman, J. (1968). Galliard rhythms – a study outline. American Recorder 9(3): 76-89.
Barbour, J.M. (1953/2004). Tuning and Temperament: A Historical Survey. Michigan State College Press,East Lansing; Dover, ISBN-10: 0486434060, ISBN-13: 978-0486434063.
